MISS VAN STAVEREN'S RECITAL

Dominion, Volume 14, Issue 4, 30 September 1920, Page 6

MISS VAN STAVEREN'S RECITAL

A REMARKABLE VOICE Miss Adelaide Van Stavwen, who made her professional debut in New Zealand before a large audience at the Town Hell last evening, after p. decade a absence in Europe, is a striking example of what concentrated study, hard work, and competent tuition can effect in the domain of vocal development, As a girl, Jlissi Van Staveren possessed a voice of uncommon duality, but training and experience have dcvelopfcd aud expanded the organ into a mezzo-contralto of positively thrilling power, and given it colour enough to ex* press the whole gamut of the emotionß. As to the power of the voice, only one other we have heard is comparable to it that of Madam Clara Butt. At times it seemed that the big Town Hall was all too small for the great round resonant notes-a voice surely designed for tno larger spaces so wonderfully reflected in the scenario of ths Wagnerian operas.- Ana yet with all its power there was rich quality equally attuned to the demands of sighing love and fierce hatred, lent* pcramcnt, so rare a virtue in evcry-day singers, Miss Van Staveren has in such abundance that it occasionally obtrudes where placid simplicity and reserve would serve. Her graphic expression of the emotion of the moment was usually admirable, but at times her intensity, of feeling was apt to over-colour the mood—the_ intermediary nuances were often lacking. The singer is at her best in. drainatio declamation, and her manner of half-acting the scone is vory moving and generally wholly, effective. "Strida la Vampa," the old Gipsy hag's song' of hate, from "II Trovatore, has probably nover been sung in Wellington with such exultation as by Miss Van Staveren. With olenched hands and starting eyes she lived the scene, whilst the big voicb reflected the gloating Bavagery of the semi-demented Azucena. It was a triumph of dramatic vocalisation, and the audience recognised it. And then, for some inexpiainable reason, Miss Van Stavr eren sang "Comin' Thio' the Eye," making the queerest attempt at the Scotch words, and in spirit altogether out of joint with the song. But thero were other gems in which Miss Van Staveren adjusted the balance favourably. Her deep, full-Bodied tones impressed deeply in Beethoven'B "Creation's Hymn"—a noblo fragment of song-and in the poignant "In Questa Tomba" of the same giant composer, To many present, the singer's sorrowful subjection in the latter number will remain a cherished memory. Another beautifully expressed number was the ''Flower Song," from "Faust," which is bo fertile a number for emotional display. 'In the second half of the programme Mies Van Staveren introduced to Wellington the witch's interlude from Sir Hubert Parry's oratorio "King Saul," a boldly-scored declamatory number, that rings with ihe shout of battle and the poignant despair of Israel at the death of its king. "Terrible is Thy Wrath, 0 Jehovah!" runs the-concluding line, and a shudder of that terror was faithfully conveyed by the singer. The number showed how effective the voice is over a big range, and to what heights and depths the dramatic spirit in the voice may att«|n. Hnllah's "Three Fishers" was given an original- interpretation. (In this number there were passages where the art of diseuso was suggested—a dropping of the singine tone ?n to the spoken word— and the effect was quite appealing. Some liberties were taken with the song—the license of an artist. One would have liked to have heard "Requiem" in a lower key. Thero was a suspicion of stridency in thiq number out of keeping with • Stevpnson's swun ton*. "Morning" (Teresa) del Eiego), and "0, Divine Bedeomer" were well sung, and a real cameo of song materialised in a "Russian Lullaby" by. Rimsky Korsakov, which was crooned in Russian. It had to bo repeated. Another encore was the liltish Irish ditty, "A Ballynure Ballad" (Hubert Hughes). Finally, Miss Van Staveren sang ''0 Don .Fatale" (0, Fatal Beauty) from Verdi's opera "Don Carlos," and was applauded. The encores were "Melisande in the Woods" [Otoetz), n.nd "Home. Little Maori" (Alfred Hill), which doubtless had ita breath of sentiment for the singer. Mr. Matthew Dixon played the accompaniments with facility, and also play»d tho first movement of ft Grei« Sonata, a "Caprice" by Medtnor, and "Spring Song" (Poldini) with fair success. Miss Van Staveren will sing again this evcninc.